Inside Your Zen Side

We think 60,000 thoughts per day, notes photographer Dana Lane. Via.

This season we've brought you Zen through art, food, films, writing, painting, theater, and literature.

Now we're bringing you to Zen.

Japan Society hosts its first-ever meditation workshops, Zen For Everyone, with renowned Buddhist scholar and priest, Roshi Pat Enkyo O’Hara. Enkyo Roshi currently serves as Co-Spiritual Director of the Zen Peacemaker Family, a spiritual, study and social action association. Her focus is on true self-expression, peacemaking and HIV/AIDS activism. She holds a Ph. D. in Media Ecology and taught Multi-media at my alma mater, New York University for over 20 years.

In three separate workshops on November 21, December 12 and January 8, Enkyo Roshi discusses the spiritual side of Japan Society's Hakuin exhibit, and instructs on proper zazen (sitting meditation) technique. According to Village Zendo, where she teaches, here are several key points to remember:

Whatever position you choose, sitting in a chair, full lotus, half-lotus, Burmese, or kneeling with a cushion or bench, choose a posture you can hold comfortably for 30 minutes.

Once seated, roll your hips slightly forward, allowing your belly to relax and your breath to move freely.

Center your spine by gently swaying from left to right in decreasing arcs.

Push the crown of your head toward the ceiling, straightening and extending your spine. Then relax your shoulders.

We've already discussed  the benefits of meditation in one’s daily life. It’s a great stress reliever, guides practitioners to a higher state of consciousness, and instills a greater sense of focus, which can be applied in any real world situation. But one question remains: how exactly does one truly meditate? Zen for Everyone is destined to enlighten all involved .

T.D.

Enlightenment Through Cooking

Kansha if you can! Via.

What is the difference between the American vegetarian and the Japanese vegetarian? In the West, people choose vegetarianism for several reasons: for health, for fad, for spirituality or for principle. But Japan has been following the vegetable path much longer than its arrival on American shores due to geography and the religious influence of Buddhism, and the concepts are more intrinsic.

In her latest book Kansha, tracing Japan’s vegan and vegetarian traditions to their Buddhist roots (and offering several mouthwatering recipes in the process), Elizabeth Andoh describes the very basics:

Japanese meals are organized around a core of three foods: rice (or noodles), soup (clear, miso enriched, or puréed), and pickles. Greater volume and complexity are usually achieved by adding small dishes to this trio to round out the menu. Classic meal planning follows guidelines associated with Japan’s native culinary culture, washoku. Such meals achieve culinary harmony by balancing colors, flavors, and preparation methods.

Of course, the ideology and practice goes much deeper. Traditionally Japanese rarely ate or completely abstained from eating meat, stemming from adherence to the Five Virtues and the principle of ahimsa (non-violence).  For some, eating animal meat is akin to cannibalism because all sentient life is instilled with the same dhutu (spiritual essence) that resides in people. Also, much Japanese cuisine follows the rules of shojin-ryori (devotion cuisine): avoid killing plant life like root vegetables (potatoes, carrots and onions) and strong-smelling plants, and use seitan (mock meat made from wheat gluten and soy).

The Western vegetarian is catching up on how the East wines and dines. Those who still think vegetarian cuisine is bland, boring and unappealing should heed Andoh and Masato Nishihara , executive chef at Kajitsu  restaurant , which just received another Michelin star.

Both appear in the Japan Society sponsored discussion, Field to Table: The Role of Vegetable in Japanese Diet, taking place Monday, October 25. In addition to history and practice, they highlight a surprising twofold sustainability within practicing shojin: preserving the environment and preventing unnecessary waste in preparation and consummation.  Using all parts of the vegetable, it turns out, can create not only a soundly nutritious meal but bold artful complexities in flavor and texture. We can't wait to learn how!

S.H.

Five Films You Might Want To Watch With The Buddha Before Killing Him

To thine own self be... ouch! Via.

"If you meet the Buddha, kill the Buddha."

Linji Yixuan, Ch'an Master (? – 866)

Zen practices help people achieve serenity, better focus and greater understanding of the self. But as with everything in life, light must co-exist with darkness.

Enter Japan Society’s Zen & Its Opposite [watch the trailer], five classic films that show the relationship between Zen and violence, often overlooked when discussing Zen philosophy. Historically we can look to samurai meditating in order to center themselves before violent combat. Metaphysically, we can look at the constant battle between our spiritual selves and earthly desires.

A good example of the latter is the 1964 supernatural Japanese fantasy/horror film Kwaidan, which launches Zen & Its Opposite tonight. Each film illustrates one or several of the "Six Planes of Existence" in Buddhism's realm of birth and death. Kwaidan is four ghost stories elegantly strewn together, but at its core represents "The Realm of Humans", where beings are both good and evil--enlightenment within their grasp, yet blinded and consumed by their desires.Each of the short stories that comprise Kwaidan creates worlds where one must be on constant alert – something Zen Buddhism strives to improve upon – and nothing is as it seems.

Though the film was made by Japanese people, who might readily understand these Eastern concepts, the book on which the film was based was actually written by noted 19th century Japanologist Lafcadio Hearn, who was British-born and naturalized as a Japanese citizen in 1895, taking the name Yakumo Koizumi. So great was Hearn’s affinity for Japanese culture that his stories read like a born and bred native Japanese who has never stepped foot in the West.

After Kwaidan Zen & Its Opposite continues through February with screenings of Onibaba, Fires on the Plain, Hell  and Sword of Doom. Tickets are $12 or $9 Japan Society members, students and seniors.

For those who can’t get enough ghost stories before Halloween, Japan Society invites you to check out OBAKE! on October 29 for an evening of fun with ghosts, costumes and one of the most insane Japanese horror films of all time. More on that later!

T.D.

Creative Rights And Writing With Lewis Hyde

Lewis Hyde (r) gets messy with fellow ox herder Max Gimblett. Via.

Lewis Hyde is a renowned author, teacher, MacArthur Fellow and cultural critic known for his thought provoking and careful but lively debates about artistic body and the creative process. Notes NPR in a recent profile:

Hyde, whom David Foster Wallace once called "one of our true superstars of nonfiction," is an infectiously enthusiastic writer. He's able to jump from topic to topic while never losing sight of his thesis, and the side roads he takes the reader down — from Emily Dickinson to Bob Dylan, from Benjamin Franklin (whom Hyde calls the "founding pirate") to John Cage — are fascinating.

His books include The Gift, the classic treatise on creativity in society, and Trickster Makes This World, about the playful and disruptive side of human imagination. His latest tome, Common as Air  rethinks copyright and intellectual property for the 21 century. Here is a typically Hyde-ian section from NPR's lengthy excerpt:

"Intellectual property" is the phrase now used to denote ownership of art and ideas, but what exactly does it mean? Does it make sense, to begin with, to say that "intellect" is the source of the "properties" in question? A novel like Ulysses, the know-how for making antiviral drugs, Martin Luther King, Jr's "Dream" speech, the poems of Rimbaud, Andy Warhol screen prints, Mississippi Delta blues, the source code for electronic voting machines: who could name the range of human powers and historical conditions that attends such creations? All that we make and do is shaped by the communities and traditions that contain us, not to mention by money, power, politics, and luck. And even should the artist or scientist think she has extracted herself from the world to stand alone in the studio, a tremendous array of faculties and mind- states may well attend her creativity. 

There is intellect, of course, but also imagination, intuition, sagacity, persistence, prudence, fantasy, lust, humor, sympathy, serendipity, will, prayer, grief, courage, visual acuity, ambition, guesswork, mother wit, memory, delight, vitality, venality, kindness, generosity, fortitude, fear, awe, compassion, surrender, sincerity, humility, and the ability to integrate diametrically opposed states of mind into harmonious wholes . . . We would need quite a few new categories to fully map this territory — "dream property," "courage property," "grief property" — and even if we had that list, only half the problem would have been addressed.

Hyde champions the idea that art does not grow through strict adhesion to doctrine but instead takes the framework from past generations and uses it to bring forth new life--an ancient dialogue to find the perspective needed to contemplate our modern world. For Japan Society's oxherding exhibit, he translated and reinterpreted the ancient Chinese Buddhist parable "The Ten Oxherding Pictures"  concurrently with the creation of Max Gimblett's powerful ink-brush paintings. Discussing the process, he writes:

When it comes to the translations, the plan is to have each oxherding text appear in three different English versions: a “one word ox” which sticks slavishly to the Chinese (one word per character), a “spare sense ox,” which puts each Chinese syntactic unit into a simple English sentence, and an “American ox” (or “fat American ox”) which takes considerable liberties while trying to be faithful to my intuitions about the meaning of the series.

In conjunction with oxherding , Hyde gives a creative writing workshop at Japan Society on Saturday October 16 called The Personality of a Poem . A former director of creative writing at Harvard, and currently a creative writing teacher at Kenyon College, he will help writers of all levels discover methods of finding the "personal personality" of any written work of art, steering away from conventional thought and fostering instinct to travel down the unbeaten path and enjoy the wisdom it offers.

One of several workshops Japan Society's Zen season (including painting, breathing, and meditation),  this event is a good example of the opportunity the Society regularly affords that fulfills Hyde's call to action in his essay "Created Commons":

Let us begin by recognizing how deeply all creative enterprise needs to be fed by its larger community. Let us work to build the institutions that will make all talent prone to the happy accident of its fruition. Let us create a future that will be proud to name us as its ancestors.

S.H.

Join The Sound Of Critics And Audiences Clapping

The look of one hand. Via.

The legendary Yoshi Oida returns to Japan Society for two performances only, October 8 and 9, in what The Village Voice calls  a "rare chance to see the celebrated actor—who has not appeared in New York in 12 years—perform what is widely considered to be his masterwork."

Nearly 30 years after the original production (read the 1981 New York Times review), Oida breathes new life into his venerable one-man comedy with live music, Interrogations: Words of a Zen Master. This week Time Out New York warned "get ready to clap with one hand," while Flavorpill described the piece in detail :

Yoshi Oida is an actor, writer, director, and longtime member of Peter Brook's Paris-based International Centre for Theatre Research. His 1978 one-man show, Interrogations: Words of the Zen Masters, incorporates the brilliant British director's practice of breaking down barriers between performer and audience. Acting as a Zen master, Oida poses direct questions to audience members in the form of koans, riddles without definite answers, which determine enlightenment. One koan leads to another, lasting days. While there can be a very fine line between religion and theatre, Oida's Interrogations is one evening created for the sole purpose of a genuinely shared experience.

Though using Zen Buddhism as a framing device, the work draws from timeless theater conventions from around the world. In an exclusive interview with American Theatre [PDF of the article], heralding his return to New York, Oida discussed the play's intricacies:

The texts come from China’s 11th and 12th centuries. Normally in the Zen monastery, the master gives a koan to the student, and the student tries to think about it and write down a good answer. "Two hands clap and there is a sound; what is the sound of one hand clapping?" "Does a dog have a Buddha nature or not?" There are no right answers, because the koan is not logical. You must understand not the question, but what is the meaning underneath the question. In the 1970s, Beckett and Ionesco were very fashionable. Their plays were not realistic—they were anti-theatre. I thought, yes, this koan is very good for this world of anti-theatre, because there is no logic in it. The Rinzai Zen masters had a lot of questions, which I chose for the performance. Instead of finding out the answer, I pose the questions to the public. I am like a master asking a koan, and the public answers.

Interrogations take place Friday and Saturday at 7:30 pm. Tickets are $28 general admission and $23 for Japan Society member. A limited number of $14 student rush tickets are available 1 hour prior to each performance with valid student ID.

Yoshi Oida is also a celebrated opera director. His staging of Benjamin Britten's Death in Venice opens at the Canadian Opera Company on October 16.

Hear The Silence So Loud

Details of Hiroki Otsuka's reverent and iconoclastic Daruma 28.

New York City: high-paced, intense--a metropolis where walking a step too slow or too fast can set off a deafening barrage of profanity and car horns. Amongst the craziness there always exists the need for escape, tranquility, and dare I say, Zen. For a weary New Yorker, Japan Society is that escape with its relaxingly quiet atmosphere, calming waterfall garden, and host of intellectually stimulating programs.

The escape is multiplied by three with the Society's new exhibition The Sound of One Hand, featuring America's first ever exhibition encompassing the paintings of eighteenth century Zen Buddhist master, Hakuin Ekaku. Though his work comes from a time where reverence and adherence to ancient traditions were the norm, it has a truly modern, populist feel to it.

Riffing on the contemporary vibe of Hakuin's art, the Society also presents two fresh, contemporary remixes on reverent Buddhist subject matter. Downtown artist Max Gimblett and author Lewis Hyde’s  oxherding is a bold spin of 'proper' form--10 years of collaboration deconstructing and reconstructing precious texts and holy images. As Gimblett himself puts it, he would have been considered a pop artist had he arrived in New York 10 years earlier in the 60s. His fusion of pop art sensibilities and Japanese calligraphy along with his intensity as an artist proves that the art of Zen, with its emphasis on tranquility and simplicity, doesn’t have to be boring.

There's another shock to the religious system before entering the Hakuin exhibit proper. Hiroki Otsuka’s Daruma 28 depicts the master and founder of Zen Buddhism, Daruma, in 4 acrylic paintings that portray him in private moments of spiritual struggle as a strikingly manga-esque, Gen-Y monk.

The Sound of One Hand opens today. Admission is $12, $10 for students and seniors, and free for Japan Society members and anyone under 16. oxherding and Daruma 28 are free to all Japan Society visitors during the course of the exhibition.

T.D.

Read "The Sound Of One Hand"

The Daruma that cannot be drawn. More drawings.

Our exhibition The Sound of One Hand: Paintings and Calligraphy by Zen Master Hakuin doesn’t open until October, but if you’re raring for a sneak peek and eager for context of Hakuin's life and work, the best primer is the official catalogue, released this week by Shambhala Publications. Co-authored by Audrey Yoshiko Seo and Stephen Addiss the 287-page, fully illustrated, hardbound color beauty is a comprehensive and wonderfully readable overview of the world's most influential Zen master.

Writing alternating chapters, Seo and Addiss explore Hakuin’s impact as both an artist and Zen monk. As explained in the introduction, Hakuin was a vital figure in the development of Zen Buddhism. He was a reformer of the major school of Rinzai Zen, establishing it as an open and inclusive alternative to some of the stodgier forms that preceded it. Maintaining the rigors of practice, Hakuin emphasized the study of koans (instructive riddles), which he called "poison words," in addition to silent zazen meditations and post-enlightenment training (because after enlightenment there’s still more to learn!)

Though his subject matter varied, Hakuin’s art reflects his teachings and inspirations from the everyday life: from the theatrical, such as Korean acrobats, to the somber and personal, such as other monks of his lineage. Many paintings accompanied his prolific writing on Zen philosophy and literature. Others depict goblins and other folk beasties, as well as major Zen figures, such as the founder, Daruma.

The formidable Daruma is most often depicted as large, hairy and homely man, with piercing eyes, wearing plain red or white robes, and earrings. Hakuin’s representations of him, however, varied widely over his career, and, even though they ascribed to the accepted format, it seemed he was getting at something beyond physical representation. Indeed, as the inscription on one work he did at the age of 44 says: "I have painted several thousand Daruma, yet have never depicted his face. This is only natural, for the moment I spread the paper to draw it, the original form disappears. All of you, what is this Daruma that cannot be drawn?"

Zen Again & Again

Hakuin Ekaku, 1685-1768, Two Blind Men on a Bridge. Ink on paper, 11 x 33 in. Man’yo-an Collection.

October is Zen Month here at Japan Society! Starting on October 1st, and continuing until January, the new exhibit, The Sound of One Hand: Paintings and Calligraphy by Zen Master Hakuin, opens with a veritable onslaught of Zen-related events following. The "Here & Zen" series includes lectures on art and lifestyle, performances, film screenings, workshops, as well as a second, free-of-charge exhibition.

On Saturday October 2nd, Stephen Addiss heads the symposium Hear the Sound of One Hand: Reflections on the Art of Zen Master Hakuin about the influence of Zen on artistic expression in Japan. Addiss is a co-curator of the exhibition with his wife Audrey Yoshiko Seo. Both are respected and prolific writers on Zen and art, and they wrote the exhibition catalogue. They are joined by Matthew Welch, Curator of Japanese and Korean Art at the Minneapolis Institute of Arts and David Rosand, Meyer Schapiro Professor of Art History at Columbia University.

The next weekend, on October 8th and 9th, actor-director Yoshi Oida brings his one man show, Interrogations: Words of the Zen Masters to Japan Society. Interrogations is a comical play about a Zen master addressing several koans to a student to test him, and to see if he has reached enlightenment. The play is accompanied with live music by Berlin-based experimental musician Dieter Trüstedt. Interrogations premiered in 1979 and has been performed by Oida and Trüstedt throughout the world (this summer it stopped in Barcelona). It’s a true classic of the genre, and offers something for Zen novices, adepts, and masters alike!

On October 15th, Japan Society screens Masaki Kobayashi's epic ghost-film omnibus Kwaidan. It’s made up of four separate, thematically related, traditional Japanese ghost stories, and is by turns hypnotic, jarring, and meditative.

Field to Table: the Role of Vegetables in the Japanese Diet, is a lecture by Elizabeth Andoh, a Japanese food expert and cookbook author, as well as Masato Nishihara, head chef at Kijitsu Restaurant. Japanese cuisine boasts an impressive vegetarian tradition, because Buddhist doctrine limits, and sometimes prohibits, the consumption of meat.

In addition to the main gallery exhibit an additional show entitled oxherding features ink paintings by Max Gimblett and poems by Lewis Hyde. Together they examine similar themes to Hakuin, but from a contemporary perspective. As inspiration, the exhibition takes the famous Zen parable, "The Ten Ox Herding Pictures", about tending and maintaining discipline in the mind for gaining enlightenment. Hyde as well as psychiatrist and author Mark Epstein present a lecture as well: Mindful Living, examining the ox herding parable and describing ways to map its Zen ideas onto Western lives.

A number of workshops are held as well. oxherding artist Max Gimblett leads four sumi ink painting workshops from October to January, Lewis Hyde offers a writing workshop, and world-famous shakuhachi musician Akikazu Nakamura teaches missoku Zen breathing meditation in October.

Ticket sales for the lectures, performances and workshops have just been released online, so get them while they’re hot, and get ready to expand your minds!

This cow is maditating on the ancient koan, "nothingness" 

N.O.

Get Seasoned In Japan's Performing Arts With Another Season Of Music, Theater And Dance

A recent New York Times article noted that while plenty of people are acquainted with Japanese literature, film, and pop culture, few know much about Japanese performing arts. Sure, traditional forms like kabuki  and noh are known by name, but not many Westerners have had the opportunity to see them live, let alone have had access to modern Japanese performing arts.

This summer several high-profile Japanese stage productions played to crowded houses: Lincoln Center debuted Yukio Ninagawa’s Musashi and Saburo Teshigawara’s Miroku (which received a rave in The Times), and Toshiki Okada's Enjoy had an extended Off-Broadway run.

It's surprising Japan's performing arts aren't more popular in the U.S., given that Japan Society has presented over 600 shows since the inception the Performing Arts Program in 1953. But the recent spate of popular shows is auspicious news as we announce the latest season – an eclectic showcase of the best of Japan’s traditional and modern performing arts, with a range of music, theater and dance confirmed from September 2010 to March 2011! (View a video trailer of the season here.)

The season kicks off with the prolific and pioneering electronic recording artist Ryoji Ikeda, who performs his new high concept multimedia work datamatics [ver 2.0]. Ikeda is Paris-based, so naturally we're co-presenting with our good friends at French Institute Alliance Française, where the performances will be held coupled with a gallery installation.

In October, the great actor/director Yoshi Oida performs his venerable one-man comedy Interrogations: Words of the Zen Masters (check out The Times review from 1981, though the piece has been updated for this performance with a new live score.) The story follows a Zen master and the trials of his acolyte, and so links to our fall Gallery exhibit The Sound of One Hand, with related lectures and workshops, including one featuring the shakuhachi, a traditional bamboo flute used to practice shuzen breathing meditation.

Introducing Japan's hottest playwrights to the U.S., our Play Reading Series continues in November with Shoji Kokami's Trance. The play had its English-language debut at London’s prestigious Bush Theatre, with the Financial Times calling it "quirky and engaging."

In January, Japan Society’s 14th annual Japanese and East Asian Dance Showcase tears up the stage with the debut performances of companies from Japan, South Korea, and Taiwan. And in March, the season culminates with Kyoto's Kashu-Juku Noh Theater, giving New Yorkers the rare opportunity (even in Japan!) to see ancient noh and kyogen performances in a single evening.

Whatever your performance poison, get a healthy dose in the coming months at Japan Society!

N.O.

Images (l-r): Kashu-Juku Noh Theater, photo courtesy of the artists; Ryohei Kondo and company, photo by Takashi Ito.

Hark, The Sound Of One Hand!

The new poster for The Sound of One Hand, opening October 1.

Japan Society’s upcoming gallery exhibition, The Sound of One Hand: Paintings and Calligraphy by Zen Master Hakuin, approaches! Outside our main doors, the 2010 JAPAN CUTS poster was retired this week and replaced by the new Hakuin poster.

The exhibition opens on October 1, 2010 and runs until January 16, 2011. It promises to be a fascinating display of the finest paintings by Zen monk and artist extraordinaire Hakuin.

Hakuin’s exact dates are unknown, but historians generally agree that he was born circa 1685 and died in 1768. While Hakuin’s work as an artist is deservedly well known, he considered himself a religious figure above all. The classic Zen koan “What is the sound of one hand clapping?” actually originated with Hakuin, and was a big part of his revival of the major Rinzai school of Zen Buddhism. In fact, most of his art was not created for the marketplace, or commissioned for temples. They were meditative exercises or meant as gifts for other monks who needed encouragement or advice.

Hakuin Ekaku, Seated Daruma, Seen from the Side. Ink on paper, 42 1/2 x 14 6/8 in. Ginshu Collection. Photo: Maggie Nimkin.

Co-curators and Zen scholars Audrey Yoshiko Seo and Stephen L. Addiss have pulled together 69 of Hakuin’s most notable works for this exhibition. Hakuin’s work is fairly typical of many Zen painters’ in that they were executed quickly and spontaneously, with a variety of techniques including fluid, deft lines, rough dark strokes, ink washes, and delicate calligraphic marks.

Hakuin’s subject matter varied much wider than many of his contemporaries. His output includes portraits of great Zen thinkers like Bodhidharma (the semi-mythical founder of Zen Buddhism), flora and fauna, and whimsical illustrations for Zen parables. His style was also very fluid. Some works have a fine attention to detail, and are conservative in design and execution, while others have brutal, bold, intentionally inelegant brush-strokes. The latter was a style that Hakuin himself was instrumental in developing, and later became a major evolution in Zen art.

Hakuin Ekaku, Hotei Watching Mouse Sumo. Ink on paper, 14 5/8 x 20 5/8 in. Ginshu Collection. Photo: Maggie Nimkin.

Japan Society has a fine history of Buddhism-related exhibitions, most recently: Awakenings: Zen Figure Painting in Medieval Japan in 2007, and Transmitting the Forms of Divinity: Early Buddhist Art from Korea and Japan, which The New York Times called one of the best exhibits of 2003.

For this show, Japan Society offers a number of Zen-related programs. Also opening October1, the mini-exhibit oxherding is a series of contemporary ink paintings by Max Gimblett, in collaboration with poet Lewis Hyde, based on the famous Zen parable. Yoshi Oida, the great Japanese actor of stage and screen, performs his one-man show Interrogations about a Zen master’s test to determine his pupil’s enlightenment. In addition lectures abound and family events presented by our Education Program promise something for all ages.

Keep an eye out on this blog for more articles and more of Hakuin’s paintings leading up to the opening!

N.O.